Welcome to the Piano World Piano ForumsOver 2 million posts about pianos, digital pianos, and all types of keyboard instruments
Join the World's Largest Community of Piano Lovers
(it's free)
It's Fun to Play the Piano ... Please Pass It On!

Thirds:A3-C#4:OkA#3-D4: OKB3-D#4: slowC4-E4: faster than previous interval, may ok.C#4-F4: has progression, may okD4-F#4: slower than previous intervalD#4-G4, E4-G$4, F4-A4: has progression, has a feeling of too tense.

You say "too tense"... In general, let's consider that thirds and all F-BI's get very tense (progressively, (going up the scale)), and that is how "variable tensions" can neatly translate into "variety of color"; F-BI's get "too tense", that is why (going up the scale) we check wider intervals (F-BI's), like 6ths, 10th and 17ths, easier to "read".

At this stage, do not ask yourself to order D#4-G4, E4-G#4, F4-A4. Instead, start comparing 6ths, first A3-F#4 and B3-G#4, and then the other two. Use "tone-distance" also for comparing very fast thirds, it gets easier ((?)let me know).

Fifths:A3-E4: OK. (too fast, make it calmer)The rest: has progression. This is not CHAS. The feeling is very tense. The beat rate may be ET fifth, the feeling is not fifth. (tune A3-E4 closer to "Just", avoid beating like C4-G4, tune D4-A4 narrow-just)

- . - . - . -

I need to say that Chas (s=1) works as a reference only; your tunings will stand for yourself and you are doing very well.

Example: The "distance" between E and F is a semitone; the "distance" between C and D is called a "tone"; B-C, C-C#, C#-D, D-D#, D#-E, E-F, F-F# etc., are semitone distances; B-C#, C#-D#, D#-F etc. are tone distances.

This is second pass of previous tuning. Move a tiny hair if possible. I play the note while pushing up or pulling down the. In most case I can hear crack sound and feel the pin move. Not sure if this technique is stable. Confirm the direction of interval by slightly pushing up twisting the pin, then set back.

This is second pass of previous tuning. Move a tiny hair if possible. I play the note while pushing up or pulling down the. In most case I can hear crack sound and feel the pin move. Not sure if this technique is stable. Confirm the direction of interval by slightly pushing up twisting the pin, then set back.

Follow the tuning sequence fine tune it with respect to the wrong intervals.

Perhaps email would be more appropriate for this conversation?

Only purpose I see to dump this interarction here is to get hits on the keyword "CHAS".

Kees

Although I am interested in following Weiyan's progress with aural tuning, I agree with DoelKees about email contact being more appropriate for this kind of detail. Weiyan, please inform us of your general progress from time to time.

Although I am interested in following Weiyan's progress with aural tuning, I agree with DoelKees about email contact being more appropriate for this kind of detail. Weiyan, please inform us of your general progress from time to time.

Thanks for the support.

To get M3's to be progressive has nothing to do with CHAS, even if CHAS existed (which I argue does not).

Perhaps email would be more appropriate for this conversation?Only purpose I see to dump this interarction here is to get hits on the keyword "CHAS".Kees

Originally Posted By: DoelKees

I consider this thread to be 100% SPAM.Kees

Alfredo and Weiyan are entitled to communicate in this thread however and whenever they like just as anyone else is entitled to ignore the thread if they dislike the content.No member of this forum is forcing anyone else to endure reading anything at all. If you are of the opinion this thread 100% spam why are you commenting here? Most people I know ignore or delete spam. They do not return repeatedly to read more.

Perhaps email would be more appropriate for this conversation?Only purpose I see to dump this interarction here is to get hits on the keyword "CHAS".Kees

Originally Posted By: DoelKees

I consider this thread to be 100% SPAM.Kees

Alfredo and Weiyan are entitled to communicate in this thread however and whenever they like just as anyone else is entitled to ignore the thread if they dislike the content.No member of this forum is forcing anyone else to endure reading anything at all. If you are of the opinion this thread 100% spam why are you commenting here? Most people I know ignore or delete spam. They do not return repeatedly to read more.

Click on the user's name...Click on "View Profile"..When their profile comes up, there are four options above their profile information...Click on "Ignore this User"

I've been CHAS - free ever since!

Do it. It's very empowering.

Chris S.

Thanks for the suggestion. Problem is that I am still interested in CHAS discussions, which is why I follow this thread.

All I see here is what should be private emails between a student and his teacher, covering very basic things like hearing beats. It has nothing whatsoever to do with CHAS.

If it's really of interest to anyone else they should make a special "teaching" thread.

Alfredo had a habit of taking posts from other threads and replying to them in some CHAS thread. I believe this is done tocreate the impression CHAS is an active topic of discussion. I think the recent content of this tread is a manifestation of the same practice.

In my understanding, talking about practical method is the original intention of this thread. Its state on the first post.

I began practice this tuning method and keeping on nearly daily post some months ago, no one told me my posts are spam.

Tuning thirds progressive is not the only objective of C.HA.S. In C.HA.S, thirds and fourths are progressive, fifths are regressive to near pure. Its near Pythagorean tuning. This is an novice understanding. Correct me if I am wrong.

This from a rank beginner. Do you realize how wonderful it is for the novice to have daily lessons on hearing intervals, keeping track of subtle differences? They sure don't post the like over on the pianist or piano corners of the forum. This is the place I come for that, and it's extremely valuable for me to hear these things... ear training, a lesson a day. I do appreciate this thread. Forrest

There is no reason to justify why you are here Forrest. Just continue to learn in the way that you wish to, by reading here and comparing your work. I am sure there are others doing the same but remain silent.

Originally Posted By: Weiyan

I am sorry for making some members not happy. In my understanding, talking about practical method is the original intention of this thread. Its state on the first post.I began practice this tuning method and keeping on nearly daily post some months ago, no one told me my posts are spam.Tuning thirds progressive is not the only objective of C.HA.S. In C.HA.S, thirds and fourths are progressive, fifths are regressive to near pure. Its near Pythagorean tuning. This is an novice understanding. Correct me if I am wrong.

It is not necessary for you to apologize to anyone for your postings Weiyan. Just ignore the postings from the self-anointed moderators of the world who have nothing constructive to offer.

As you can see, you have done very well. I'm very impressed and I would say... Do trust your ear, compare (as a reference) the beat rate of adiacent intervals, relate your hammer and whole body to beats. "Hammer skill" takes time, micro-adjustements will help for both beat-curves and unisons.

If you like, you could add the recordings of higher octaves and 10ths, like A3-C#5, up to the first 12th (A3-E5). Make sure the outer strings are well-muted. And train your "beat-map" memory, so that you may be able to correct two (or more) intervals with only one move.

Next:

Originally Posted By: Weiyan

Micro adjusted some interval yesterday.

Hear to the piano directly. The sound file have different perception and there may some pitch change in these few days.